Jean-Philippe Rameau Samson Vídeos
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Maurice Ravel Couperin Samson François Jacques Charlot Dreyfus Rameau Vlado Perlemuter Alfred Cortot 1253 1617 1875 1908 1917 1935 1937 1951 1958 2022
Maurice Ravel +••.••(...)) Gaspard de la Nuit, Le Tombeau de Couperin 1958. Qobuz (http•••) Deezer (http•••) Amazon Music (http•••) Amazon Store (http•••) Spotify (http•••) Apple Music — Tidal (http•••) Youtube Music (http•••) LineMusic日本 (http•••) Awa日本 (http•••) Napster, Pandora, SoundCloud, Anghami, QQ音乐 … Click to activate the English subtitles for the presentation (00:00-03:05) Le Tombeau de Couperin, M. 68 00:00 I . Prélude, Vif "à la mémoire du lieutenant Jacques Charlot" (R.2022, Version 1958) 02:00 II. Fugue "à la mémoire du sous-lieutenant Jean Cruppi" (R.2022, Version 1958) 05:57 III. Forlane "à la mémoire du lieutenant Gabriel Deluc" (Remastered 2022, Version 1958) 10:17 IV. Rigaudon "à la mémoire de Pierre et Pascal Gaudin" (Remastered 2022, Version 1958) 12:53 V. Menuet "à la mémoire de Jean Dreyfus" (Remastered 2022, Version 1958) 16:17 VI. Toccata "à la mémoire du capitaine Joseph de Marliave" (R.2022, Version 1958) Gaspard de la nuit after Aloysius Bertrand, M. 55 19:51 Ondine: Lent (Remastered 2022, Version 1958) 27:13 Le Gibet: Très Lent (Remastered 2022, Version 1958) 32:20 Scarbo: Modéré, Vif (Remastered 2022, Version 1958) Piano: Samson François Recorded in 1958 New mastering in 2022 by AB for CMRR FOLLOW US on SPOTIFY (Profil: CMRR) : (http•••) Download CMRR's recordings in High fidelity audio (QOBUZ) : (http•••) ️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) (http•••) Le Tombeau de Couperin. Ravel achève la composition du Tombeau de Couperin, un cycle dédié au piano, en novembre 1917. Cet hommage à la musique française du XVIIIe siècle comprend six parties : Prélude, Fugue, Forlane, Rigaudon, Menuet et Toccata. A l’origine de ce Tombeau (Ravel a dessiné de sa main une urne funéraire qui est imprimée sur la page de couverture de l’édition originale), le musicien rend hommage aux morts tombés à la guerre. Par ailleurs, il évoque le raffinement du classicisme français, celui de Rameau et des Couperin. Le propos de Ravel est donc de magnifier le Grand Siècle qu’il vénérait. L’oeuvre s’ouvre par le Prélude. Le tempo est “vif”. Le pianiste Vlado Perlemuter, qui étudia auprès de Ravel, raconta que celui-ci souhaitait que le clavier suggère le son du hautbois. Forlane (allegretto) offre une danse plus stricte que la précédente. Le doux balancement des pas et le croisement des danseurs sont à peine contrariés par les stridences mesurées des vents. Le Menuet (allegro moderato) est d’une inspiration mélodique plus contemporaine, typique des harmonies des années vingt. Presque anodine, cette page devient subitement plus grave. Nous quittons l’univers de la chorégraphie pour le dessin d’un tableau historique empreint de nostalgie avant de revenir à l’élégance du mouvement initial. Le Rigaudon (assez vif) s’amuse de manière ironique, mais toutefois de courte durée. Le rythme impose ensuite une danse villageoise à la carrure solide et dont les sonorités appartiennent sans réserve à l’écriture du début du XXe siècle. Gaspard de la nuit. Un triptyque pour piano de Maurice Ravel composé en 1908 d'après trois poèmes extraits du recueil éponyme d'Aloysius Bertrand. Sa noirceur et son extrême difficulté en ont fait une des œuvres les plus emblématiques de son auteur. - Ondine, conte d'une nymphe des eaux apparaissant à la fenêtre d'un humain. - Le Gibet, dernières impressions d'un pendu qui assiste au coucher du soleil. - Scarbo, petit gnome diabolique et farceur, porteur de funestes présages apparaissant en songe au dormeur./ COMMENTAIRE COMPLET: VOIR PREMIER COMMENTAIRE ÉPINGLÉ.*** Lettre de Maître Alfred CORTOT adressée à Monsieur FRANÇOIS Maurice en date du 3 février 1935 : "Cher Monsieur, Je ne puis que vous confirmer ce que je vous ai dit à Nice après avoir entendu votre jeune fils. Il me parait indispensable au développement de ses remarquables facultés musicales qu’il suive à Paris soit les cours de l’École normale de musique, soit au Conservatoire. Je sais que c’est un gros sacrifice que vous devez sans doute vous imposer en prenant cette résolution, mais c’est la carrière tout entière de votre enfant qui est en jeu et je sais que pour un père, c’est un argument décisif. Veuillez, je vous prie, cher Monsieur croire à mes meilleures sentiments." Maurice Ravel +••.••(...)) The Piano Concertos by Samson François / Remastered Qobuz (http•••) Deezer (http•••) Amazon Music (http•••) Amazon Store (http•••) Spotify (http•••) Apple Music — Tidal (http•••) Youtube Music (http•••) LineMusic日本 (http•••) Awa日本 (http•••) Maurice Ravel PLAYLIST (reference recordings): (http•••)
Camille Saint Saëns Montigny Rémaury Montigny Robert Casadesus Louis Diémer Couperin Rameau Ravel 1886 1912 1926 1929
Camille Saint-Saëns was something of an anomaly among French composers of the nineteenth century in that he wrote in virtually all genres, including opera, symphonies, concertos, songs, sacred and secular choral music, solo piano, and chamber music. He was generally not a pioneer, though he did help to revive some earlier and largely forgotten dance forms, like the bourée and gavotte. He was a conservative who wrote many popular scores scattered throughout the various genres: the Piano Concerto No. 2, Symphony No. 3 ("Organ"), the symphonic poem Danse macabre, the opera Samson et Dalila, and probably his most widely performed work, The Carnival of The Animals. While he remained a composer closely tied to tradition and traditional forms in his later years, he did develop a more arid style, less colorful and, in the end, less appealing. He was also a poet and playwright of some distinction. The left-hand Op 135 Études are distinctive and in a world removed from the other two sets of Études. Caroline de Serres née Montigny-Rémaury was Saint-Saëns’ duet partner and the dedicatee of his ‘waltz-caprice’ Wedding Cake, Op 76, a gift for her second wedding in 1886. In 1912 her right hand was operated on and she requested a set of studies for her left hand alone. Robert Casadesus, in conversation with Dean Elder, tells a different story. He was under the impression that Saint-Saëns had written the Études for the best students of his good friend Louis Diémer, the dedicatee of Franck’s Variations symphoniques. Because Casadesus was the teacher’s pet (chou chou), Diémer gave him the Bourrée, considered the best piece of the set. He played it for Saint-Saëns himself. One wonders how Saint-Saëns reacted! That grande-dame of French playing, Jeanne-Marie Darré, who played all five Saint-Saëns Concertos in one evening in 1926, described Saint-Saëns as “very boorish, you know, not amiable”. For Opus 135 Saint-Saëns becomes neo-Classical, recreating old dance forms from harpsichord suites, inspired by his lifelong interest in the works of Couperin and Rameau. These are unpretentious pieces, but beautifully textured and intelligently designed. They were avidly studied by Ravel before he wrote his Concerto pour la main gauche. The Prélude, in G major, gently contrasts arpeggiated chords and sustained melodic fragments. The Alla fuga continues in the same key. Thankfully, its strutting subject is only taken up by one other voice, but the two attain a stretto on the final page and achieve quite a lot of contrast on their ‘flight’. The Moto perpetuo which follows is marked ‘softly and calmly, without speed and very evenly’. It would be easier to play faster—but therein lies the challenge! Its gentle ups and downs innocently explore different keys and registers, reaching a forte climax before evaporating. Then to the vigorous Bourrée with its middle section a forty-eight-bar G pedal point! The Élégie is decked in entirely different garb from the other five pieces. Its probing Romantic phrases contrast curiously with its surroundings. The second section does recall the opening Prélude with its arpeggiated chords, but there the connections end. It must have been this piece which Ravel found so helpful in 1929. It is quite lovely. The Gigue, though, provides a predictably presto conclusion, with occasional rhythmic displacements for spark and a witty descent at the end Source: Allmusic ((http•••) Although originally composed for piano, I created this interpretation of the Alla Fuga from 6 Études pour la Main Gauche (Op. 135 No. 2) for Viola Duet.
Camille Saint Saëns Montigny Rémaury Montigny Robert Casadesus Louis Diémer Couperin Rameau Ravel 1886 1912 1926 1929
Camille Saint-Saëns was something of an anomaly among French composers of the nineteenth century in that he wrote in virtually all genres, including opera, symphonies, concertos, songs, sacred and secular choral music, solo piano, and chamber music. He was generally not a pioneer, though he did help to revive some earlier and largely forgotten dance forms, like the bourée and gavotte. He was a conservative who wrote many popular scores scattered throughout the various genres: the Piano Concerto No. 2, Symphony No. 3 ("Organ"), the symphonic poem Danse macabre, the opera Samson et Dalila, and probably his most widely performed work, The Carnival of The Animals. While he remained a composer closely tied to tradition and traditional forms in his later years, he did develop a more arid style, less colorful and, in the end, less appealing. He was also a poet and playwright of some distinction. The left-hand Op 135 Études are distinctive and in a world removed from the other two sets of Études. Caroline de Serres née Montigny-Rémaury was Saint-Saëns’ duet partner and the dedicatee of his ‘waltz-caprice’ Wedding Cake, Op 76, a gift for her second wedding in 1886. In 1912 her right hand was operated on and she requested a set of studies for her left hand alone. Robert Casadesus, in conversation with Dean Elder, tells a different story. He was under the impression that Saint-Saëns had written the Études for the best students of his good friend Louis Diémer, the dedicatee of Franck’s Variations symphoniques. Because Casadesus was the teacher’s pet (chou chou), Diémer gave him the Bourrée, considered the best piece of the set. He played it for Saint-Saëns himself. One wonders how Saint-Saëns reacted! That grande-dame of French playing, Jeanne-Marie Darré, who played all five Saint-Saëns Concertos in one evening in 1926, described Saint-Saëns as “very boorish, you know, not amiable”. For Opus 135 Saint-Saëns becomes neo-Classical, recreating old dance forms from harpsichord suites, inspired by his lifelong interest in the works of Couperin and Rameau. These are unpretentious pieces, but beautifully textured and intelligently designed. They were avidly studied by Ravel before he wrote his Concerto pour la main gauche. The Prélude, in G major, gently contrasts arpeggiated chords and sustained melodic fragments. The Alla fuga continues in the same key. Thankfully, its strutting subject is only taken up by one other voice, but the two attain a stretto on the final page and achieve quite a lot of contrast on their ‘flight’. The Moto perpetuo which follows is marked ‘softly and calmly, without speed and very evenly’. It would be easier to play faster—but therein lies the challenge! Its gentle ups and downs innocently explore different keys and registers, reaching a forte climax before evaporating. Then to the vigorous Bourrée with its middle section a forty-eight-bar G pedal point! The Élégie is decked in entirely different garb from the other five pieces. Its probing Romantic phrases contrast curiously with its surroundings. The second section does recall the opening Prélude with its arpeggiated chords, but there the connections end. It must have been this piece which Ravel found so helpful in 1929. It is quite lovely. The Gigue, though, provides a predictably presto conclusion, with occasional rhythmic displacements for spark and a witty descent at the end Source: Allmusic ((http•••) Although originally composed for piano, I created this interpretation of the Moto Perpetuo from 6 Études pour la Main Gauche (Op. 135 No. 3) for Concert (Pedal) Harp.
Camille Saint Saëns Montigny Rémaury Montigny Robert Casadesus Louis Diémer Couperin Rameau Ravel 1886 1912 1926 1929
Camille Saint-Saëns was something of an anomaly among French composers of the nineteenth century in that he wrote in virtually all genres, including opera, symphonies, concertos, songs, sacred and secular choral music, solo piano, and chamber music. He was generally not a pioneer, though he did help to revive some earlier and largely forgotten dance forms, like the bourée and gavotte. He was a conservative who wrote many popular scores scattered throughout the various genres: the Piano Concerto No. 2, Symphony No. 3 ("Organ"), the symphonic poem Danse macabre, the opera Samson et Dalila, and probably his most widely performed work, The Carnival of The Animals. While he remained a composer closely tied to tradition and traditional forms in his later years, he did develop a more arid style, less colorful and, in the end, less appealing. He was also a poet and playwright of some distinction. The left-hand Op 135 Études are distinctive and in a world removed from the other two sets of Études. Caroline de Serres née Montigny-Rémaury was Saint-Saëns’ duet partner and the dedicatee of his ‘waltz-caprice’ Wedding Cake, Op 76, a gift for her second wedding in 1886. In 1912 her right hand was operated on and she requested a set of studies for her left hand alone. Robert Casadesus, in conversation with Dean Elder, tells a different story. He was under the impression that Saint-Saëns had written the Études for the best students of his good friend Louis Diémer, the dedicatee of Franck’s Variations symphoniques. Because Casadesus was the teacher’s pet (chou chou), Diémer gave him the Bourrée, considered the best piece of the set. He played it for Saint-Saëns himself. One wonders how Saint-Saëns reacted! That grande-dame of French playing, Jeanne-Marie Darré, who played all five Saint-Saëns Concertos in one evening in 1926, described Saint-Saëns as “very boorish, you know, not amiable”. For Opus 135 Saint-Saëns becomes neo-Classical, recreating old dance forms from harpsichord suites, inspired by his lifelong interest in the works of Couperin and Rameau. These are unpretentious pieces, but beautifully textured and intelligently designed. They were avidly studied by Ravel before he wrote his Concerto pour la main gauche. The Prélude, in G major, gently contrasts arpeggiated chords and sustained melodic fragments. The Alla fuga continues in the same key. Thankfully, its strutting subject is only taken up by one other voice, but the two attain a stretto on the final page and achieve quite a lot of contrast on their ‘flight’. The Moto perpetuo which follows is marked ‘softly and calmly, without speed and very evenly’. It would be easier to play faster—but therein lies the challenge! Its gentle ups and downs innocently explore different keys and registers, reaching a forte climax before evaporating. Then to the vigorous Bourrée with its middle section a forty-eight-bar G pedal point! The Élégie is decked in entirely different garb from the other five pieces. Its probing Romantic phrases contrast curiously with its surroundings. The second section does recall the opening Prélude with its arpeggiated chords, but there the connections end. It must have been this piece which Ravel found so helpful in 1929. It is quite lovely. The Gigue, though, provides a predictably presto conclusion, with occasional rhythmic displacements for spark and a witty descent at the end Source: Allmusic ((http•••) Although originally composed for piano, I created this interpretation of the Moto Perpetuo from 6 Études pour la Main Gauche (Op. 135 No. 3) for Concert (Pedal) Harp. Download the sheet music here: (http•••)
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